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The article deals with the conceptual foundations and principles of teaching the integrated course “Art” in the 5th grade according to the model curriculum. The author analyses a new format and content of education that is designed by the thematic modules covering the main types of art (music, choreography, fine arts, drama, and cinema). The content and structure of the Model curriculum and the peculiarities how to implement it teaching students during the adaptation period in accordance with the conceptual provisions of the New Ukrainian School and the requirements of the State Standard of Basic Secondary Education in the field of art education are revealed. The principles of the author’s teaching method of integrated art education are characterized as the following: variability (variability of content, practical and creative tasks, types of students’ activities), comparability (comparability of the presentation of educational artistic material, which involves using of various comparisons: types of art, traditions and innovations, works of the past and present, national and foreign art), gamification (using game tasks, drama, didactic games at lessons), artistic literacy (musical, visual, choreographic, theatrical), unity of education and selfeducation (organization of regular media search, individual and group art projects, independent research and experiments). The modernized textbook “Art” and the Workbook-album for the 5th grade were based on above-mentioned principles. These materials direct the educational process to the effective development of all the main components of students’ competence – cognitive, activity and value, as well as ensure the other tasks in the Model curriculum and achieve educational results according to the requirements of the State Standard. The author gives some examples how the above-mentioned principles to work in the educational process of an integrated art education. These examples are based on the material of the “Art” textbook and tasks from the Workbook-album for 5th-graders that guide the educational process to the effective development of all the main components of students’ competence – cognitive, activity and value. The possibility of involving students in the planning and regulation of artistic self-education by filling out the “Selfevaluation sheet” by students allows teachers to analyse and reflect the results of students’ artistic activity. [ABSTRACT FROM AUTHOR]

The author considers the aspect of the work of music teachers with students on mastering the means of musical expression in the context of the musical perception of primary school students. Musical intonation is a basis for creating, perceiving and interpreting artistic image in music. From the author’s own pedagogical experience, it is highlighted the features of working with primary school students on the perception and analysis of their “musical portrait” at music lessons (educational program “The world is waiting for the winged”, integrated subject “Art Technology and Informatics” (module “Musical Art”). “Musical portrait” is a reflection of a person’s character. It is not his or her external image, as it expresses person’s feelings, states, and the emotional background. Acquaintance of 2-4-graders with heroes of musical works through “musical portrait” occurs at the expense of boundless possibilities of this kind of art and students’ imagination. The article presents the tasks of perception of musical works – from magazines-manuals for 2-4-graders according to the above educational program; the task presented in the format of examples contains a description of working with students at music lessons. Various methods and techniques of finding and using musical intonation are presented: visualization, plastic intonation, comparison, etc., which create additional opportunities for the perception of specific musical works and images, based on practical immersion as a starting point. For the teacher, it will be easier to move to communication with students about more complicated, generalized and “abstract” musical images. Therefore, in the future, it is important for the teacher to develop methodological support of integration of musical intonation with the means of other arts based on other common components-integrators (musical landscape, musical plot, musical “sculpture” or “musical architecture”, etc.). [ABSTRACT FROM AUTHOR]

The purpose of the article is to consider the development of the genre of the song of the first half of the twentieth century. The methodology of the research is based on the historical and cultural and artistic methods of studying the genre of the song. The scientific novelty is to consider the genre of the song at different stages of its development (from folklore, amateur level, Kitsch, Biedermeier to a mass song, samples of socialist realist kitsch, pop culture, hits, etc.). Conclusion. The genre of songs during the first half of the twentieth century became one of the binding links of the "low" and "high" culture and due to its availability and easier perception, with frequent use of techniques and methods of Kitch, which later fallen the basis of pop culture, enabled the birth of such a The phenomenon as a hide, separate samples of which became a "classic", are popular today, taking their niche in the treasury of national musical culture. [ABSTRACT FROM AUTHOR]

The article actualizes the problem of primary school students' musical perception of taking into account the specifics of the process of musical perception and psychophysiological features inherent in modern children 6(7)--10 years old ("clip" thinking, low concentration, inattention, hyperactivity, etc.). It is emphasized that primary school students can emotionally "feel" music only in an active form -- by performing certain actions, movements, while acting creative tasks in the context of listened to musical works, etc. The authors specify the active ways of students' perception of musical works, which are effective in the educational process, as they take into account the psychophysiological characteristics of primary school students and the specifics of musical art including the process of perception of musical works. The active ways of students' "communication" with musical works are offered, namely methods: choice of appropriate definitions, comparisons, associations, reception of "free conducting", "plastic intonation", musicograms, musical graphics, etc. The musical-pedagogical potential of each of the offered methods and reception is described. Moreover, the practical recommendations how to apply them in the most effective way at music lessons are given. It is concluded that the proposed methods and techniques help the teacher not only to organize the perception of music effectively, but also to develop other musical (musical memory) and creative abilities (creative imagination, image-associative thinking). It is important to develop the ability to work in pairs and small groups, as well as to explore, make their own decisions and generate new ideas. The proposed methods used in the music lesson will provide modern primary school students with new opportunities for deep empathy for music, understanding of the thoughts and feelings conveyed in it with the ability to express them in different ways -- through plasticity of the body, selection of colour associations, symbols, etc. The prospect of further research is to clarify methods and techniques of active communication with musical works of primary and secondary school students as well as to develop methodical recommendations for music teachers according to age-related characteristics of school students. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the peculiarities of the revival of the unfinished N. Leontovich's opera ―Water Nymph's Easter.‖ The methodology consists of the application of methods of historiographic analysis and synthesis, comparison and generalization, personology, personality theory, cultural studies, and hermeneutic approaches. This made it possible to collect and investigate unknown and little-known facts about the writing of N. Leontovich's opera ―Water Nymph's Easter,‖ to reveal and characterize the stages of its revival. The scientific novelty of the work consists in identifying the innovative style of the musical language of the opera N. Leontovich ―Water Nymph's Easter,‖ its place and role not only in the musical work of the composer but also in the entire operatic art of Ukraine. Conclusions. The activities of the prominent Ukrainian composer N. Leontovich, despite the persecution, state, and censorship oppression, made a significant contribution to the development of national musical art, promoted the folklore foundations and traditions of the Ukrainian people. His opera ―On the Mermaid Easter‖ became a natural continuation of choral art, which is considered to be a composer‘s laboratory, where the skills of a polyphonist, an interpreter of poetic content were perfected, and an innovative search for a combination of national and universal human values took place. [ABSTRACT FROM AUTHOR]

The purpose of the article is to study the specifics of the sound object as a central element of creativity and the theoretical concept of P. Schaeffer. The methodological basis of the work is a structural-functional methods that helps to identify the elements of sound matter and trace the features of their deployment and mutual location. The scientific novelty lies in the fact that for the first time in Ukrainian musicology the provisions of P. Schaeffer's theory of sound objects are systematized, the specifics of the functioning of electronic complexes in «Railway Etude», which is one of the representative works of concrete music. Conclusions. Analysis of P. Schaeffer's «Railway Etude», based on the terminological apparatus proposed by the composer, showed the presence of two groups of sound objects united by a common source: for the first group such a source is a locomotive horn, and for the second – a train. According to the spectral characteristics, these objects are differentiated into noise and sound bands concentrated in a certain area of the frequency range. It was found that a sound object, the specificity of which is determined by the set of physical characteristics of the acoustic signal, in a certain musical context can acquire the properties of the thematic or structural element of the composition. The sound object is considered in terms of pitch, duration and intensity, their location outside the generally accepted discrete scales is indicated. It was found that the disclosure of the creative potential of a sound object is inextricably linked with the specific conditions of perception of concrete music (acousmatic situation and reduced listening). [ABSTRACT FROM AUTHOR]

The purpose of the article is to reveal innovative views on the importance of musical activity in the symbiosis of psychological and pedagogical approaches. The methodology consists of the study and analysis of pedagogical, musicological, art history source base, analysis, systematization, and generalization of scientific and methodological sources. The scientific novelty of the work is to study the features of the study of musical activity from a psychopedagogical perspective, taking into account the changing socio-cultural environment of the early 21st century. Conclusions. Musical activity in scientific works of the 21st century is studied in the traditional psycho-pedagogical approach but taking into account innovative pedagogical concepts (K. Orff, Z. Kodai, J. Ducklcroze, S. Suzuki) and the introduction of an updated methodology. Among the relevant in the 21st-century methods of teaching music are as follows: alternation of different types of creativity, use of various creative methods, development of unity of motor and musical abilities, improvisation, active musical perception, the combination of collective and individual types of musical activity, participation in artistic and cultural events, communication with artists, the involvement of parents in education. [ABSTRACT FROM AUTHOR]

The purpose of the article is to determine the ways of activating the development of perception of modern music on the basis of effective assimilation of new musical material by students and preparing them for independent mastering of modern music. Methodology. To solve the tasks, theoretical and empirical methods were used, including analysis - synthesis, induction - deduction, classification - generalization, pedagogical observation, conversation, analysis of the results of educational and creative activities. The relevance of the work lies in its compliance with the modern requirements of national art and education, namely, in overcoming the stereotype of musical thinking, which is an urgent task of modern music education. The object of the research is the process of professional training of students. The process of developing the perception of modern music, the formation of reflexive skills in the process of training a guitarist. Scientific novelty. This work is an illumination of the results of one's own experience in the development of reflexive skills of future teachers in the "guitar" class based on the analysis of performing and research activities. Conclusions. Thus, we can confidently assert that in the process of teaching and educating students of music colleges or universities, the development of their creative activity plays one of the leading roles, because the art of music is impossible without creativity in all its manifestations. Knowledge only becomes full-fledged when it is acquired not only through the efforts of memory but also with the participation of creative thinking. The training of specialists requires more significant consideration of the individual characteristics of students and attention to their development and the formation of a creative personality in the classroom in the specialty. Activation of thinking should be aimed at teaching thinking, working creatively, developing students' individual skills in acquiring knowledge. [ABSTRACT FROM AUTHOR]

The purpose of the article aims at substantiating the motivation for referring to the genre of the memorial ballad for piano in contemporary composer`s work, the manifestation of the means and methods of reproducing the style dialogue. The research methodology consists in the use of a retrospective method – to reconstruct the features of romantic genre varieties of ballads, cultural and historical – to reveal the peculiarities of their embodiment and musical means in various socio-historical circumstances; comparative – to identify the aesthetic-stylistic, worldview, content, genre, dramatic, textual, features of the creative process in the assets of composers. The scientific novelty lies in an integrated approach to the manifestation of the grounds for the appeal to the genre of the memorial ballad by artists of different composing schools, the justification of their creative tasks, goals, and means. Conclusions. In the appeals to the ballad genre by S. Slonimsky and M. Stepanenko, a number of common features can be traced: personal motivation due to parallel performing and research activities, the inherent in the artist`s psychological type a tendency to memorial creativity, the desire for a dialogue of epochs at the level of genre features, shaping, tonal-harmonic thinking, melodic deployment, national and ethnic characteristics, as well as intertextual means that correlate the features of individual composer styles. [ABSTRACT FROM AUTHOR]

The purpose of the article is to identify and characterize the peculiarities of interpretation as a unique phenomenon of musical art in the context of the specifics of sound recording. Methodology. The method of culturalhistorical analysis was applied, which contributed to the consideration of the process of development and transformation of interpretation in musical art, and also helped to trace the specifics of the evolution of the art of sound recording; the comparative method, thanks to which the features of the interpretation of a piece of music by the performer, sound engineer and listener are revealed; philosophical, cultural and art history methods of analysis, which contributed to the identification of cause-and-effect relationships and regularities in the functioning of the peculiarities of musical interpretation in the art of sound recording, its consideration, and understanding in the unity of all elements, the reproduction of the context of the socio-cultural space in which this phenomenon developed. Scientific novelty. The musical interpretation is investigated in the context of the specifics of the art of sound recording; the influence of postmodern tendencies on the formation of a new paradigm of interpretation of recorded musical work is revealed; the problem of interpretation in the art of sound recording is characterized at the level of performing an interpretation of a musical work, its fixation as an important semantic process that generates new cultural meanings and sound engineering activities. Conclusions. The study revealed that in the context of the art of sound recording, musical interpretation manifests itself on several levels, since in a recorded musical work, as a material object that is accessible to the senses "in infinite variability of reading" (according to J. Derrida), through the prism of the personality of the author of the musical work, the performer and sound engineer embody ideas about reality, and artistic information encoded and decoded by them takes on its final form only in the mind of the listener. [ABSTRACT FROM AUTHOR]

Purpose of the article. The article is devoted to issues of choreographic vocabulary in French musical and stage productions of the XVII - XVIII centuries, which will allow us to broaden knowledge about the historical dance of this period and to outline new directions in its study. The methodology of the research is to apply methods of formal and comparative analysis, hermeneutic method, which allowed to analyze the purpose and functions of dance art at the court in France in an era of absolutism; characterize the specifics of the dance language in the aspect of its semantic content. The scientific novelty of the work is to deepen the notions of choreographic elements and their interaction in the dances of French musical and stage productions of the XVII - XVIII centuries, which broadens opportunities for their perception and understanding; the role of dance in the social and political life of the contemporary society, which allows us to outline new angles in the study of ballet history, historical dance in colleges, universities, etc. The materials offered in the article are of interest to specialists in such fields as the philosophy of culture, the history of choreography, etc. Conclusions. The content of choreographic elements and their interaction in the dances of French musical and stage productions of the 17th - 18th centuries is largely uncertain. In part, it can be understood by studying such aspects as facial expressions, gestures, as well as features of world perception and rules of court etiquette of the period under study. Some explanations can be found in the works of the XVII - XVIII centuries, which are devoted to the phenomenon of dance. Some of them present numerous numerical and rather complicated conditional symbols of dance movements, hand movements, body, descriptions of external attributes of dance that had a significant effect on the design of the artistic whole, however, did not deny freedom in their interpretation. [ABSTRACT FROM AUTHOR]

The purpose of the article is to investigate and determine the indicators of V. Ivasyuk's author language to reveal the stylistic meaning of his song creative legacy. The methodology is based on a combination of historical and biographical approaches in line with the culturological method. The phenomenological-semantic method is integrative, with the enhancement of its noematic direction. All of these approaches operate in a comprehensive application to the phenomenon of personality of V. Ivasyuk as a sign for the dominant ethical features of the national Ukrainian consciousness. The scientific novelty of the study lies in the fact that the phenomenon of V. Ivasyuk's author's language in the pop song genre is comprehensively revealed for the first time, the author's style and style of the creator's songs are defined as a noematic phenomenon. Conclusions. The originality of the song vocal intonation at the present stage is based on several factors that contribute to the commonality of compositional ideas of various authors: the desire for sound performance; psychological depth and expressiveness of musical images; substantial complexity of the work and its structural basis. In general, it is possible to determine the ways and directions of interaction between the common opera and chamber-song vocal-declamatory stylistics that are relevant to the creative language of V. Ivasyuk. Song melody as an art-communicative phenomenon has increased reflexivity and semiotichnost, psychological objectivity, and weightiness. It is called upon to actualize the personal lyrical aspect of the musical image as an experience of human sympathy, overcoming psychological contradictions, and ensuring the semantic unity of artistic experience. The song style summarizes and represents certain psychological states, experiences, contributes to the enlargement and reification of feelings (total emotion), directly addressing the immanently "pure" absolute meaning of music. The main of the combination of characteristics of the individual style of V. Ivasyuk deepened to the intentional semantic foundations of his works, is dialogism, which can be defined as noematic. [ABSTRACT FROM AUTHOR]

The purpose of the article is to consider the concept of "musical thesaurus" as a specific repository of musical knowledge and a means of understanding musical culture in modern conditions of information enrichment of humanitarian discourse. The methodology is based on concepts and theoretical conclusions in the field of the humanities. Research methods: analytical are used to study the structure of a musical thesaurus, as well as the principles of a musical thesaurus-dictionary building; historical - considering the musical thesaurus as a repository of musical knowledge, which is a product of the corresponding historical periods; cultural, comparative - in understanding the relationship between the musical thesaurus and other ways of preserving knowledge, as well as in the process of converting the attributes of a particular historical culture into an individual thesaurus of creativity; semantic - in revealing the specifics of the refraction of the cultural thesaurus in the composer's personal thesaurus, which, in turn, is reflected in the musical work. The scientific novelty of the study lies in the fact that the structure, forms, and properties of the musical thesaurus are analyzed, and the features of the preservation of musical knowledge in the thesaurus of this art form are revealed for the first time. Conclusions. The musical thesaurus is a repository of musical knowledge, a kind of information space that includes potential and relevant cultural meanings embodied through intonation systems, and a specific context in material and ideal forms. It should be noted that even such a general view of the musical thesaurus does not exclude the need to clarify its affiliation. Since this concept includes two components, it is necessary to classify the thesaurus according to two parameters: the musical proper and the generic one. The first parameter, in turn, points to two different signs, one of which divides the thesaurus into amateur and professional, and the second into their different types. An amateur thesaurus is divided into an ordinary and educated listener, a neophyte and an informed, highly and poorly educated, from the point of view of general knowledge, as well as thesauri representing various sociocultural, age, national and other groups. Among the professional thesauruses, there are composer, performing (also polysyllabic), musicology (which includes all areas of musical science). It is advisable to identify related professions that are associated with music and form their musical (professional) thesauruses. These include the field of music publishing, music libraries, libraries, music museums, where most often they combine museum work with scientific practice, musicology, and the like. The generic parameter for the classification of musical thesauruses provides for their division into collective and individual, sociocultural, and personal. The same mechanics of mutual influence operates here as in any other thesaurus in a modus of ideal form. [ABSTRACT FROM AUTHOR]

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